Short comments on recently acquired discs.
is a magnificent work. Indeed, it is one of Handel
's best works, even if less well known than the more static Messiah
or his incidental orchestral or organ music. In this new recording, to top it off, the best case is made for an already so exciting work. Paul McCreesh and his authentic instrument troupe, the Gabrieli Consort & Players—just back from a stunning Bach St. Matthew Passion
—get into it with their typical freshness and joviality that will have you get the jitterbug. The size of the orchestral forces is rather big, for Handel at any rate, and diverse. Organ, timpani (plenty!), carillion* (yay!), harp, and lots of other things. In fact, it's already as big as if Otto Klemperer himself had reorchestrated it. The complete thing, on three discs, lasting over two and a half fun hours, has the superb singing of countertenor Andreas Scholl (David), as well as Neal Davies (Saul), Susan Gritton (Merab), et al., and comes with the usual informative booklet and libretto in French, English, and German. A vocal baroque delight par excellence
and not to be missed. ƒƒ
From medieval Latin
quadrillionem, which refers to four stationary bells commonly used in France to indicate the time. Three high-pitched bells chimed the quarter-hours, while a fourth and deeper-toned one tolled the hour.
A set of cast bronze bells arranged in chromatic order and so tuned as to be capable of concordant harmony. They are normally played from a clavier of wooden keys and pedals but may also be played from an ivory keyboard with electric action.